Transcript

Creativity report #4

imagine.inspire.influenCe.Creativity report #4

foreword– Nina Rieke

MagentaEINS/Familie Heins | Deutsche Telekom CUP Special Edition | Volkswagen

Monty The Penguin | John Lewis #HappyToHelp | KLM4G4Good | StarHubWi-Fi Dogs | Deutsche Telekom

Building the culture of innovation: DDB Digital university– Paulina Jusis-Alfonsi

Online Ordering | McDonald’sRadiant Return | Radiant

the growth maChine– Yves Bollinger

Wolkswagen | VolkswagenNeuer Fokus | SonyHolograms for freedom | No Somos DelitoI SEE FRIES | McDonald’s

Channel interplay: Campaigns at the next level of efficiency.– Stefan Sindram and Fabian Roser

InstaConcert | Deutsche TelekomThe new Sharan. Families know why. | Volkswagen

imprint and contact

input

about DDB

inDex

Creating for a new digital reality – how this changes Creativity. – Nina Rieke

1012

28293031

3637

46474849

6061

62

63

64

07

14

32

38

50

foreworDnina rieke, Chief Strategy Officer, DDB Group

9 10

foreworD

Creativity is our Dna. people are our inspiration. technology is our tool. “Creativity is the most powerful force in business.” This quote from our founder Bill Bernbach is as relevant today as it was 65 years ago. Today, the correlation between creativity and brand success has been proven sufficiently.

Marketing buzzwords come and go. Creativity, however, is timeless. It’s evolving, though. Therefore, it’s our primary task to continuously interpret creativity in the contemporary context. And technology equips us with a large number of tools to do so. Even more as digital is no longer just a part of individual measures, but rather an integral part of almost everything we do.

This fourth edition of our Creativity Report shows how we are dealing with technological innovations and how they influence our ways of working and the projects we create. In the past year, we, in cooperation with our clients, have explored new and fresh creative pathways. The following contributions and case studies from colleagues from Germany and all over the global DDB network should give you an impression of how we are interpre-ting creativity today.

Have fun reading it!

nina riekeChief Strategy Officer, DDB Group

11 12

the objective Most people have different contracts for mobile, landline, TV and internet from different service providers, which is why many lose track. This is one of the reasons why the average German spends 700 € a year on telecommunication. They guess that there are saving potentials, but have no interest to deal with the different tariffs and pro-duct offers. In September 2014, Deutsche Telekom brought light into the dark with their MagentaEINS offer that combined mobile, landline, internet and IP TV in a single offer for the first time ever. First off, the campaign had to overcome people’s indifference before they were willing to have a closer look at the advantages of this new offer and eventually choose it.

the solution No matter how good a product is, plain product information hardly ever reaches consumers. Therefore, we made sure to package the advantages of the new tariffs in a way that would appeal to people: a highly entertaining comedy format that introduced the product embedded in a story. “Familie Heins” is a rather untypical family. With Walter Heins, the caring father and tomato grower, who loves to take family selfies, leading the way. He brings “MagentaEINS” to the family home and lays the foundation for the following episodes. The interesting characters and bizarre stories allow us to integrate a wide array of topics and references to recent events and trends. For example, a visit of the carnival in Cologne or accompanying Clara, the daughter of the family, to a casting for the movie “Fack Ju Göhte 2”. Additional to the episodes aired on TV, there are side stories and special editions that follow the content strategy and help us to add new twists to the campaign time and time again: starting with live spots, which are produced and broadcasted on a daily basis, to the integration of the family into existing formats like “Telekom Street Gigs”. Stars like Sami Slimani, who are part of the campaign, help Deutsche Telekom to strengthen the awareness in the young target group that is hard to reach.

magentaeins/familie heinsDeutsche telekom – DDB Germany

14 million YouTube views view-through-rate: 66 %

GWA Effie award silver

average media spending per percentage point in the category unassisted ad: telekom 3.780 €, Vodafone 4.485 €, O2 5.470 €

increase of product awareness: 40 % after five weeks and > 70 % after seven months

Interest in MagentaEINS: > 45 % monthly (standard value 30 %)

TV contacts in total (includes all spots in 2015): > 2.15 billion

Increase of active product search: + 46 %

13 14

the objective It was our goal to reach all Germans, who are planning to buy a new car and are enthusiastic about the latest Volkswagen special edition models. But in 2014, the year of the World Cup, most of them only had one thing in mind: the fourth star. The insight: with the strongest national team in years, Germany was hoping to win the next World Cup title. The strategy: to crown Volkswagen as the official sponsor of anticipation – by continuously heating up the World Cup fever and showing great football knowledge.

the solution The campaign claim “this year belongs to those that want more” summed up the high expectations prior to the World Cup and, at the same time, communicated the pro-motional message of the Volkswagen CUP models: more equipment at better rates. Under the claim “desire for more” the motto was consequently realized: more World Cup fever, more anticipation, more entertainment. The idea: while chasing its fourth title, Germany challenged the record holders and five-time champion Brazil on their own soil. Volkswagen turned this clash of the champions into the main theme of the campaign and staged a thrilling showdown. Just in time for Christmas 2013, Volkswagen started the World Cup season with a brilliant kick off: the first official Christmas speech by the Brazilian “Minister of Football”, Pelé, was aired on German television. Broadcasted on more than 20 channels at the same time, shown on more than a hundred screens in public space and across all relevant digital channels, Pele asked the Germans to take it easy at the World Cup in his home country Brazil. This statement stirred up the heat way before the World Cup. Before and during the World Cup, the rivalry between Germany and Brazil was enacted through entertaining TV duels of the football stars Thomas Müller and Neymar. We continuously provided new digital content to maintain a high level of awareness. The CUP models and their special features were introduced in print ads. A campaign website brought together all online and offline contents, informed about the advantages of the respective models and led to configuration and dealer websites.

Cup speCial eDitionvolkswagen – DDB Germany

> 120,000 online configurations of CUP special edition models (within first 50 days)

increase of volkswagen’s registration figures compared to the previous year: + 14,304

Increase of aware- ness level: + 5 %

increase of sales of special edition models compared to the previous year: + 35 %

List of noticed World Cup sponsors: rank 7 (without a official sponsoring mandate)

Increase of ad recall: + 6 %

Share of CUP special edition models of overall Volkswagen orders in 2014: 48.9 %

84 % more test drives of special edition models than previous year

When asked about the most popular sponsors of the World Cup, 19 % responded Volkswagen.

nina rieke, Chief Strategy Officer, DDB Group

Creating for a new Digital reality – how this Changes Creativity.

17 18

Cre

atin

g fo

r a n

ew d

igita

l rea

lity

“ there is no Digital strategy, Just strategy in a Digital worlD.”1

Within the context of a client project, we interviewed many digital experts from the DDB network and some experts working for some of our key clients. We would like to use this report to share what we found out with you. It should help you to better understand our perspective as a network agency on the topic “digital is everywhere” – and it should inspire you to re-think digital in regard to brands.

Change happens on many levels – in society, culture, economy, and over the last years, mostly in technology. We are now seeing a genera-tion growing up that has developed a completely different relationship to brands. A generation that is more sceptical, impatient and disloyal. And all this is happening in a fragile global economic situation, in which a shift towards a more “purpose driven consumption” can be observed in many Western countries. The explosion of possibilities through the ever-increasing speed of technological development has changed our media usage. It has created a networked society that is connected and interactive in new ways. Keith Weed, Chief Marketing and Communica-tions Officer at Unilever, claims: “The biggest changes are the interactions between consumers and brands as well as the path-to-purchase.”

We as agencies are responding to change. We change our output as well as our ways of working. If we are not willing to adapt to what people are interacting with, we cannot reach our goal: to create influential brands and to reach people through ideas. At DDB, we have been guided by this quote from one of our founders for more than 65 years: “Creativity is the most powerful force in business.” And, as one of the most influential creatives of this century once said:

So how do technology and creativity work together? What has changed about how we do our work in a digital world? Because if most of our reality is digitally infused, then this should also apply to creativity.

“ teChnology is nothing without Creativity.”2

1 Bud Caddell | 2 Steve Jobs

19 20

Cre

atin

g fo

r a n

ew d

igita

l rea

lity

today, agencies are creating for a new digital reality. It seems that everything we do nowadays is digitally infused. Since digital is embedded in all of our lives, it becomes evident: it’s less about digital creativity. It’s more about creativity in a digital world. Still the question remains: do we have a common understanding of digital? Is there a clear definition of what digital means in the context and work of an agency? How is it changing creative work? What can we learn from our clients as they change their brand and marketing strategies? And how can we best approach new tasks?

We are creating for a new reality – a reality that has been transforming itself over the last 10 years. A digital reality that has matured and taken digital from being a communication add-on to being the key element in transforming customer relationships and businesses. We are currently in the third wave of digital. A wave that is bringing in work that is stret-ching the term “digital” broadly from display ads and video content to service apps and transformative digital projects that influence how brands interact and do business with their customers.

Client needs in the fields of SEO, video content, CRM, websites and apps to business strategy and e-commerce back-end integration are growing. This prompts leading agencies to build new fields of expertise, develop comprehensive digital skills and diverse work approaches: from ads on new channels, paired with marketing strategies that are even more a result of creativity than before, to digital services and products and possible business transformations that may result from a new, technology-driven approach. This requires new skills in the fields of Analysis, User Experience and Development.

New skills, new processes and new fields of work also involve a shift in how we look at creativity. We used to mainly apply creative skills to develop campaign based ideas. Ideas aiming to grab attention work via storytelling and messaging. Today, creativity is much broader and is shifting towards managing innovation processes that will deliver service and business solutions. Creativity is realized differently and from different people with different skills – especially with regard to how to use tech-nology in ways that add value to businesses and people’s lives.

3 USA, 2014, kpcb.com/internet-trends (Chart 16) Media consumption time | Advertising expenses

print raDio tv internet moBile

34 % 18 % 11 % 11 % 41 % 23 % 24 % 8 %24 %37 %

$50BTotal

Internet Ad

$13BOf Which Mobile Ad

it’s less aBout Digital Creativity. it’s more aBout Creativity in a Digital worlD.

≈$25B

21 22

CRM

Pro

gram

Man

agem

ent |

Con

tent

Man

agem

ent | S

ocial Community Management

High-F

unct

ion-

Web

sites

| E-C

omm Front End | Apps

Mobile

Dev

elop

men

t |

Service Design

Data S

trate

gy/A

nalyt

ics

Busi

ness

Stra

tegy

| G

over

nanc

e | T

arge

t Ope

rating Models | Developing Business Models

IT a

nd C

MS

| sys

tem

sel

ectio

n | v

endo

r selection

infra

stru

ctur

e im

plem

enta

tion

| sys

tem integration | back-end E-Comm

data

-sci

ence

| tra

inin

g an

d ed

ucati

on

Display

| SE

O | S

EM | E

mail |Video Content

Cre

atin

g fo

r a n

ew d

igita

l rea

lity

today, digital is a layer of everything we do.It’s about seeing digital not as a separate element of an execution, but something integral and built-in. Something that infuses everything we do in smart and useful ways and helps us to better connect people with our ideas. Alex Hesz, Executive Interactive Director at adam&eveDDB, offers the following description: “We don’t see digital as merely another output, we see it very much as a layer that comprises everything we do internally and externally. So when you look at a campaign like John Lewis’ Christmas campaign, we like to think of it as an atomized story, a story split into dozens of moments and fragments – some as small as a tweet, some signify an important digital experience like our collaboration with Google to create Monty’s goggles. Ultimately, we approach the dialogue with

would offer our services to anybody in need, even those not even flying at all. To show how hard we’re working and to display transparency, we built a glass-house at the Schiphol Airport. This resulted in many cool stories and films. People who saw the clips or the tweets, started to share them and challenge KLM. This is how the whole thing became bigger and bigger and the net picked up on it.”

Digital lets business grow. McDonald’s France provided the best example for how a creative agency can create digital work that is far removed from the original product and nonethe less have profound impact on consumer behaviour and help to transform the way companies do their business. This is not only a response to changed beha vioural

consumers in a way that each individual experience in the scope of this integrated campaign must be a self-sufficient story. As a result, digital doesn’t seem to be an add-on, but rather a layer that reaches all aspects of the campaign.” We will present the whole “Monty the Penguin” case on page 28.

Digital creates transparency and connections.We see digital technology as something that connects people with brands in new ways and lets them expe-rience brands anew. This creates new possibilities for brands to distinguish themselves. Jesse Mons, Project Director at DDB & Tribal Amsterdam, uses the KLM campaign #HappyToHelp to explain how this can work: “We decided to offer our 24/7 customer service not only to people flying with KLM, for a week we

patterns, but also becoming an integral part of their marketing and brand strategy. Steve Griffiths, Chief Digital Officer at Tribal Worldwide & DDB, describes the work for McDonald’s and their digital approach: “For McDonald’s digital sits at the heart of everything they do. As a first step, we are moving away from a brand design that tells our consumers what to think of us and our products to an experience design, in which consumers – with each interaction – tell us what they think of us, what we stand for and which value we have for them.” Matthieu de Lesseux, CEO at DDB Paris, adds: “First, we had to find answers to two questions. How can digital help sales growth? And how can digital maximize the user experience – before, during and after sales? Hence, this was about sales and customer experience – not communication.”

4 IAB, Media UK Report, 2009; McKinsey, Automotive Retail, 2012; E-Commerce Europe Report, 2013; Accenture, 2014: “CMO Insights, Digital Transformation”.

online ads2009

wave 1 wave 3wave 2

marketing2011

service2013

Business2015

Advertisers spend more online than on television

advertising

97 % of car purchasers research online before visiting showroom

Multi-channel commerce

now 20 % of all

non-food sales

20 % of CMO’s think they will

be a “digital” business

in the next 5 years

4

23 24

Cre

atin

g fo

r a n

ew d

igita

l rea

lity

every market has Different neeDs, Clients anD Challenges – we are aDapting our Core pillars aCCorDingly.

talent shift Collabaration work

processtech

partners

Steve Griffiths: “By now, we have established a QUAD team structure, comprising a crea-tive team, a strategic planner and a creative technologist. This allows us to design, build and manage new services and new communications platforms. The work of our team at DDB Paris which created the experience design for the McDonald’s branches and the mobile services is the result. Blending creative, strategic and technological skills is crucial.”

Steve Griffiths: “We have two programmes to pursue innovation in this field. SPARK is a rapid innovation process, which is designed to solve business issues in 30 to 60 days, with the emphasis on developing an inmarket prototype. It’s a collaborative process in which clients and agencies work together, supported by experts from specific fields. SPRINT is an innovation stream that allows us to test new technologies in-market.”

matthieu de lesseux: “5 years ago we decided to have two CEOs. One for traditional advertising and myself as CEO for digital. Like that I could completely focus on this major project, the profound change within the agency. In the course of this, we hired a lot of people – around 100 digital experts in the first year alone. These new team members changed our work culture.”

lee woodard: “The Tribal SPARK workshop is the result of an initiative by Tribal Global. The workshop deals with the ways in which digital can become physical. It offers participants and clients the chance to experi-ment with physical, digital products.”

25 26

Cre

atin

g fo

r a n

ew d

igita

l rea

lity

the following guiDing prinCiples help us – with the support of our Clients – to make Digital an integral part of our work.

1 3

4

2

Be a learning company that tries to fully understand digital life & the customer journey. In a constantly changing environment we – just as our clients – need to stay on top of things and constantly learn about what is happening out there. One way is with an installed learning system, like the one DDB Paris developed with McDonalds. You can find more information on this in the section about the Digital University on page 32. Matthieu de Lesseux claims: “People’s lives, the lives of your customers, are digital – you need to deeply understand the lives of the customers.” Jonathan Hill, Managing Partner at adam&eveDDB, adds: “We have to look at the entire customer experience – from the purchase of a product to the experience as an owner. Formerly, we looked at things in isolation – how advertising affects people, the experience at the dealer, how the website performs. Now, we have a holistic view of the customer experience.”

Developing holistic briefs with digital at the core, not as a channel.Briefs should always focus on solving problems, not merely serve to fill a channel. Media is always only a means to an end, not a solution in itself. A shared perspective on this is crucial. If we are briefed on creating a digital something, the key question that we should ask ourselves before we start working should always be: what is the problem that lies at the heart of the brief? Digital will then become part of the solution where it truly adds to it.

from messages to experiences – within the scope of brand guidelines.There is a clear shift to not just talk to people, but to do things for them that they can experience. “We have always been good at talking to consumers. However, with the emergence of Social Media and the resulting openness, consumers expect more,” explains Steve Griffiths and adds: “We are therefore quickly having to learn new brand behaviours: continue to deve-lop our conversational skills, provide content that is relevant here and now, without communicating in a condescending way. We have to invite our consumers to participate and encourage their engagement, instead of coming across like a nuisance in their newsfeeds.”

moving from static insights to continuously listening & acting.Research has always been observing. If we want to track the effects of our work, we need to go beyond the classical search for insights. Only if we are continuously monitoring, we will be able to react timely to available information and insights. It’s necessary to think like a content company with a newsroom mentality. Less like an advertiser. Jesse Mons explains: “In a digital world feedback and insights are available instantaneous. Online, things can quickly go viral, but they can also negatively bounce back as quickly. Therefore, I advise to use the available insights and con-stantly listen to consumers.”

“ what we Do BeComes more important than what we say.”5

5 Pierre Woreczek, Senior Vice-President and Chief Brand & Strategy Officer at McDonald’s Europe

27 28

Cre

atin

g fo

r a n

ew d

igita

l rea

lity

5

6 7

Closer cooperation between agency and client.A good working relationship of agency and client helps to form a collabo-rative perspective on finding a solution. It also helps in coping with ever tighter time frames. Jesse Mons: “When doing digital work it’s very impor-tant to develop a good relationship with your clients and get them involved at an early stage as working together immensely speeds up implementation.” Matthieu de Lesseux reports: “The main change is about collaboration. As a consequence we do a lot of workshops with our clients. Since the pres-sure is increasing, we need to deliver in shorter time and products are introduced to the market more quickly, it has become more important to work together closely.” Jonathan Hill elaborates: “We have to understand what’s going on in the sales department, work closely with the operations department, and we have to work even closer with all the retailers as well as with all our traditional partners in the marketing department.”

leaving room for experiments while growing with safe bets. It’s about an environment where there is room for both: keeping up what we do successfully while at the same time trying to develop new things that might have the power to grow into future mainstream success. Steve Griffiths describes the process as follows: “We recognize the need to provide CMOs with clear and tangible evidence of the steps they need to take to shift more of their media spend from traditional channels to digital channels. In partnership with OMD, we created a program called Shadow- plan, which works on the basis of what a marketing plan would look like if TV did not exist. We developed a communications model based on three principles: blockbusters – major events which are designed to resonate and build affinity with consumers; affinity platforms – communications that are designed to connect with things that consumers care about and of which we can be part of; driving demand – sales driving activities mainly through mobile that are designed to drive in-restaurant traffic and sales.” And Lee Woodard, Managing Partner at Tribal Worldwide, encou-rages: “Be willing to fail. It is a gradual move that allows you to retain integrity to the business whilst shifting from traditional to digital.”

starting without looking for the big leap, but rather for incremental change. There is no overnight cultural shift in either agency or client organisation. Experience shows that such a culture needs to develop and it is up to us what the people are going to learn while they do things. So it is important to start without having an unrealistic expectation of how fast organisa-tions, processes and outcome will transform. Jonathan Hill says: “It’s been a big switch in the last five years. But it was not a switch that went on over night, not a quick switch, you could speak of a technology creep from where we were five years ago to where we are now as technology is gradually, through a series of incremental decisions, becoming more and more impactful to our business.”

these seven principles help us to create outstanding creative work that is digital in many different ways. In this report you can find many other examples and case studies on this subject. enjoy reading and exploring.

29 30

the objective For years, the Christmas campaigns by John Lewis have been the most high profile and relevant marketing campaigns in the UK – in the most important commer-cial period for all retailers. Each new John Lewis Christmas campaign is hotly anticipated, analysed, debated, critiqued, rated and pretty much talked about by everyone. It sets the benchmark for all brands whose marketing programmes aim for emotional engagement, multi-touchpoint activation, social sharing, PR generation, and above all commercial success. These high standards need to be maintained.

the solution Monty the Penguin represents a new era of modern retail marketing. An era where integration and activation extend beyond a joined up TV, print and online campaign, and into new realms of in-store theatre, merchandising, CSR activations, global technolo-gical firsts, and social media marketing. Even the characters in the campaign had their own voices and profiles. It followed the same Thoughtful Gifting-strategy as years gone by, executed across platforms in an innovative and omnichannel way. This is immersive creativity where customers became wrapped up in a story, immersed in a world of activation, and engaged with the characters and the message with new depth and feeling. And it worked – far more successfully than any campaign that preceded it, generating record sales, record views, record shares and record returns – all because of a little boy, his Penguin and true love.

monty the penguinJohn lewis – adam&eveDDB

John Lewis’ record revenue during one week: £ 175 million. ROI: £ 7.44 on every pound spent on the campaign. Christmas sales compared to previous year: + 5.8 %

288,000 Shares above all social media channels

29 million video views online

Days till soft toy of Monty was sold out: three

Twitter follower of Monty: 42,000

John Lewis donated all the proceeds from the soundtrack to the WWF.

Cannes lions “Film Craft-Directionˮ grand prix, “Film Craft-Visual Effectsˮ gold, “Branded Content-Visual Effectsˮ gold, “Filmˮ silver and “Integratedˮ Bronze, anDy “TV & Cinemaˮ gold, “Integratedˮ gold, “Cinemaˮ gold and “Web Film/Viralˮ gold, British arrows “Filmˮ gold, “Best over 90 second TV commercial using paid-for mediaˮ gold and “Best Integratedˮ silver, Creative Circle “Best FX/CGIˮ gold, D&aD “Special Effects for Film advertisingˮ wood pencil, “TV Commercialsˮ wood pencil, “Animation for Film Advertisingˮ wood pencil, “Integratedˮ wood pencil and “Direction for Film Advertisingˮ graphite pencil, one show “Film over 60 secondˮ silver and “Film Short form Singleˮ silver

the objective To be able to fully appreciate KLM’s exceptional customer service, you have to experience it yourself – that’s what the people at KLM firmly believe. But how could we enable this experience for people who are no KLM customers?

the solution Instead of merely talking about good service, we wanted to let actions speak: For a week, we offered KLM’s 24/7 customer service to all passengers, not only KLM passengers. The “Happy to Help” campaign was coordinated from a control center at the Schiphol airport in Amsterdam. To be able to also offer help internationally, we had branches in New York, Hong Kong and São Paulo. Help seekers could access the service by using the hashtag #HappyToHelp on Twitter. The help operations were documented on film: the service staff picked up forgotten passports from homes, or took late passengers to the airport in a speedboat on the Hudson River. As the funniest help operations were shared on social networks, in the end not only travelers were surprised by the special KLM services.

Total impressions (social media, website, etc.) generated by the #HappyToHelp initiative: > 37 million

Total video views: > 7 million

Awareness #HappyToHelp: 1 out of 5 (living in the researched countries)

Cannes lions 2015 4× Bronze lions, the webby awards nominee

#HappyToHelp accomplished a significant increase in KLM brand preference in all nine KLM key markets.

#happytohelpklm – DDB & Tribal Amsterdam

12

4g4gooD

> 3.4 million unique visitors of blog-articles about Wi-Fi Dogs

the a-list hollywood awards “Moving Image Advertising” Bronze, new york festivals “Online Film” silver and “Branded Entertainment” Bronze, Cannes lions “Cyber and Branded Entertainment” 2× Bronze, aDC “Online Film” silver and “Film Casting and Branded Entertainment” 2× Bronze, spotlight awards “Web & Mobile” Bronze, D&aD global awards “Casting for Film Advertising” graphite pencil and “Direction for Film Advertising” wood pencil, ame award “Online” silver, eurobest “Craft Film” gold and 2× silver, london international awards “TV/Cinema/Online Film-Production & Post-Production” Bronze, Euro Effie Awards Grand Prix and gold

31 million impressions

Postings achieved a 0.81 % share rate

> 1.72 million YouTube views

2.77 % click- through-rate

7.14 % interaction rate

People attended to the campaign content for a total of 2,344,013 minutes, which is equal to 4 years, 5 months and 14 days.

31 32

the objective When StarHub started its 4G mobile phone network in Singapore at the beginning of 2014, the competitors SingTel and M1 had already divided the market among themselves. Naturally, they had used the relevant terms “browsing-speed” and “network coverage” in their advertising communication. So how could we create awareness for StarHub and establish it as the most innovative telecommunication brand?

the solution Two facts were chosen as the crucial points of the communication: not every customer uses the whole available data volume until the end of the month. And even in a rich country like Singapore, where smartphones are ubiquitous, many people still can’t afford this technology. So we decided to create the initiative #4Good and asked StarHub users to donate their unused anytime minutes, SMS and remaining data volume by SMS. StarHub also donated top-up cards to aid organizations like “Cerebral Palsy Alliance Singapore” or “Singapore Association of the Visually Handicapped” that could be recharged through the donations.

starhub – DDB Singapore

Individuals got connected from the charities: 500

pr week asia awards “Corporate Social Responsibility Campaign of the Yearˮ Bronze, singapore media awards “Best CSR Campaignˮ winner, Creative Circle awards “Direct Integrated Campaignsˮ gold, “Direct Response/Digitalˮ gold, “Integrated – Best of Categoryˮ gold, “Integrated Campaign led by Promo & Activationˮ gold, “Integrated Campaign led by Promo & Activationˮ Best of Category, “Product Launch or Relaunchˮ silver and “Integrated Campaign led by Mobileˮ Bronze, marketing excellence awards “Marketing Innovationˮ Bronze

Net Value of donations: $ 70.000

Postitive emotions associated with the brand: increased by 2 %

112,000 YouTube views

Social media reach of > 890,000

Customer pledges: 7,370

11,000 Likes & Shares

the objective “To make phone calls and surf while you’re roaming can be incredibly ex-pensive!” This state of mind persists and even results in the fact that 60 % of all smartphone users turn off roaming data during their holidays. How do we refute such a strong myth and explain that this fear is unreasonable when you are using the Travel & Surf tariff of Deutsche Telekom?

the solution We met fears with humor and an observation that everyone can understand: to save roaming fees, many travelers spend hours looking for free Wi-Fi spots. This is time that could be used better, especially during holidays. To help these travelers, we invented the Spaniard José and his “Wi-Fi Dogs”: dogs that are trained to find Wi-Fi spots for tourists. Their story is told in a series of mockumentaries – short, funny spots, shot in documentary style. True to the motto “Look for the fun. Not for the Wi-Fi.” we made people aware of Deutsche Telekom’s Travel & Surf offer.

wi-fi DogsDeutsche telekom – DDB Germany

paulina Jusis-alfonsi, Managing Director, DDB Digital University

BuilDing the Culture of innovation: DDB Digital university

35 36

Dig

ital U

nive

rsity

Digital has changed the way we live and the way businesses create value. Social media such as Facebook, Twitter or YouTube have created new ways to communicate and tell stories. New actors such as Uber, Square, Spotify, Airbnb or Blablacar have reinvented services and challenged the rules of their industries. The inexorable growth of mobile has created a pervasive computing environment and has changed the relationship between brands and consumers.

In the early 2010s, established companies started to understand they had to embrace this new digital paradigm, with two key questions in mind: how to understand these new digital trends in a fast-paced world? And how to integrate them in their communication and business models, just like start-ups do?

That is why in 2010, DDB Paris created the “Digital University”, a unit dedicated to help companies such as McDonald’s, Chanel, Bouygues Telecom or BNP Paribas to better integrate digital into their culture and strategies and generate meaningful ideas that have a real impact on their customers experience.

Programs consist of Conferences, Digital Discovery Days, Coaching Sessions, Workshops and Learning Expeditions. Whatever the format, these programs are tailored to each company‘s challenges and adapted to all roles, from top executives to managers and operational teams, in all departments (communication, marketing, sales, IT, legal, HR). These trai-ning programs are a combination of theoretical concepts, concrete case studies and return on experience from digital leaders such as Google, Airbnb, Coca-Cola, The New York Times or Walmart, with an emphasis on putting knowledge into practice through personalized workshops.

The Digital University has been working for advertisers from various indus- tries (financial services, food, FMCG, luxury goods, automotive, technology and telecommunication) in 28 countries. It has, for example, developed a fruitful partnership with McDonald’s France that started five years ago. The DDB Digital University has helped to build a common under-standing of digital and new business stakes across the company, from top executives to franchisees, to implement a new governance for digital and identify the key digital priorities – such as McDonald’s France most iconic digital workstream: web and mobile ordering – which has started a major shift in McDonald‘s customer experience (see case on page 36).

“ we have Chosen Digital university BeCause of their personalizeD approaCh, whiCh is aDapteD to our speCifiC neeDs. we are working with a professional anD DeDiCateD team. together, we have DevelopeD high quality training sessions with relevant Contents anD qualifieD speakers who have a strong impaCt on our Different targets.”1

1 Agnès Gerbaud-Seuret, Global Digital Director at BNP Paribas Personal Finance

raDiant return

37

the objective With the success of McDonald’s in Paris waiting lines at cash registers and at the order terminals lengthen. A new way of contact, faster, more digital, limiting the interaction with the employees of McDonald’s was neccessary.

the solution A service of online order is proposed on the Internet and as application for mobile-devices. It allows the customer to locate the closest restaurant, to inquire on the proposed products and especially to buy these products online by paying by Credit card or PayPal. You receive your order by scanning the QR Code you received after payment or by using the number of the command at terminals in the restaurant. A program of CRM is also set up to make discover this new service to the new subscribers and to animate the customer database with monthly offers usable via the online order.

2.2 million new accounts (during the campaign)

Sales on mobile-devices: 56 %

Cristal festival emerald award, grand prix stratégies “Marketing digital (applications de commerce)ˮ and “Marketing client (mobile)ˮ

Payment: 25 % made by paypal

80,000 new accounts per month (during the campaign)12

the objective Early in 2014, Radiant, the once leading Australian washing powder brand, had lost its former position. The brand had to fight against eight strong competitors and win back consumers that lately preferred discount products. The brand was in such a bad shape that many supermarkets thought of dropping Radiant from their product range. Hence, we urgently had to breathe new life into the brand. In a way that created as much attention as possible.

the solution Consumers only buy a detergent if they believe in its effective power. But all producers make the same promises. Instead of only making promises, we showed the effects: 14 pieces of clothing from different retailers received a special treatment and were thoroughly stained. This was documented with cameras. True to the motto “Buy it. Wear it. Wash it. Return it.”, the clothes were returned to the stores only a day later. 13 stores accept-ed the articles, because they actually looked brand new. All the more they were surprised when they got to know what had been done to these clothes. This measure and the 14 acid tests resulted in entertaining videos that created a lot of buzz online and in the social web.

radiant – DDB Melbourne

Increase of social engagement (Likes, Comments, Shares, Tweets, Retweets, Followers etc.): + 400 %

Sales of Radiant: Increase of 27 % compared to previous year

Cannes lions Bronze, D&aD awards graphite pencil, spikes asia silver spike, Clio awards Bronze, ad news awards “Ad Campaign of the yearˮ and “Branded Content Award ,ˮ new york festivals finalist award

Prevalence in households: Increase of 6.2 % compared to previous year

New customers one month after the campaign start: 81,800

The campaign also achieved the highest market share in five years.

37 38

online orDeringmcDonald’s – DDB Paris

yves Bollinger, Director Digital Strategy & Innovation, DDB Düsseldorf

the growth maChine

41 42

The

Gro

wth

Mac

hine

“How do I get as many consumers as possible for my product?” That’s the key question to which growth hackers often find surprising answers that go beyond traditional marketing. The term “growth hacking” origina-ted in the start-up scene and describes innovative measures that help a product to grow as quickly as possible, without the use of classic media. Neal Patel came up with the most common definition: “Growth Hacking combines the use of technical skills and creativity to develop and execute marketing practices with a primary focus on growth.”1 Growth hackers do not rely on traditional mass media and its rules to reach a great number of people. Instead, they use the mechanics of the new platforms that reach millions: Social Media, Apple, Google. And they contradict a common dictum of the internet: the emotionalization of content to gain awareness. Emotions can only be utilized to a certain degree and attention is a valuable and fleeting good. In a fragmented media world, this approach is being shattered all too often because of the latest cat GIFs. Therefore, Growth Hackers mainly focus on the communication and the distribution of the benefit a product has for its users. This is often realized through the APIs, the application programming interfaces of major platforms.

In 2007, Brian Chesky and Joe Gebbia were no longer able to pay their rent and came up with the idea to rent out their apartment in San Francisco during a congress. To do this, they created a website: AirBed and Break-fast. The rapid growth of a website to rent out one appartment into a disruptive powerhouse of the Sharing Economy is one of the most popular examples for Growth Hacking. Today, with about 2 million classifieds from 190 countries and a worth of more than 25 billion dollars2, Airbnb has become bigger than such established companies in the industry as Wyndham or Marriott and has almost reached the value of the Hilton Group.3

A Growth Hacker knows and uses marketing methods, has great technical as well as analytical knowhow and finds creative solutions that meet the demands of users.

growth hacking

Marketing

UserExperience

TechnicsCode & Analysis

1 Neil Patel, 2015: tinyurl.com/orz5cdu | 2 CNN Money, 2015: tinyurl.com/nnjfaml | 3 Bloomberg Business, 2015: tinyurl.com/7g68a5a

the growth maChine

43 44

The

Gro

wth

Mac

hine

the experiment

12 Followers at the start

This article is accompanied by a small, empirical experiment. Like all great researchers, I offered myself, respectively my own abandoned Twitter account, as a guinea pig. My goal: to increase the number of my followers with a Growth Hack, while I am writing this article. Admittedly – starting off from a very low point!

Duration of the experiment: 4 days

finding a target groupInitially, I looked for a niche target group: people that deal with Growth Hacking and digital marketing. The appropriate hashtags helped me to find active users with interesting content and a large numbers of fol-lowers. I wanted to reach out to their followers by providing interesting content on my own profile.

So how did Airbnb manage to get the critical mass of initial users that are necessary to convince investors to open their wallets and are the prere-quisite of further growth? For a month, the two founders literally went from door to door in New York. They convinced one advertiser after the other and helped them to create their listings. They were unsatisfied with the quality of the images and started taking photos themselves. Like this, they learned a lot about the needs of their clients and also started to build a loyal group of users. Paul Graham, a venture capitalist and the first Airbnb investor, thinks that these first 30 days were crucial for the survival of the young enterprise4. The analysis of the first advertisements showed that high-quality photos boost the chances for success. Content is king and the content on a platform for classifieds are mainly photographs. Based on this insight, a program was started which aimed to motivate photogra-phers who were active on the platform to engage with new users and shoot stylish photos of their apartments. The quality of the pictures is still one of the striking features of the platform – today more than 2.000 photogra-phers are working for Airbnb. These first, analogue “hacks” helped to establish Airbnb in the core target group. However, the platform soon reached the limits of its organic and mainly manual growth.

Airbnb offers a product with an outstanding UX and loyal users. What the company needed in order to be able to make the next step in its develop-ment, was a broad user base.

That broad user base was to be found on the mother of all classified platforms: Craigslist5. There users could be found who are unsatisfied with the existing com-mercial platforms and are looking for alternatives – precisely the target group of Airbnb. To reach them, Airbnb enabled simultaneously pub-lishing a classified ad on their own platform and on Craigslist. The idea: it’s easier to get content to the target group than to move the target group to the contents. By publishing content on an established platform, Airbnb created additional benefits for its users (more lettings) and attracted attention thanks to the quality of the advertisements. This helped to convert users of Craigslist into users of Airbnb. Sounds obvious? Sounds simple? How obvious is it to provide content for your competi-tors? To publish an Airbnb classified on Craigslist via the rather unimpressive “Post to Craigslist” link, an own technical solution had to be developed. Craigslist doesn’t offer such an interface. Andrew Chen6 de-scribes this process in detail, its complexity becomes clear even in this short explanation: Airbnb develops a script, which searches Craigslist and completes forms with the desired information. However, only a particularity on Craigslist enables the hack: Craigslist doesn’t store information about classifieds in a cookie or on their server, but in a unique URL. This allows Airbnb to develop a bot (a computer program) that visits Craigslist, generates a unique URL, fills in the in-formation from the classified and provides the user with this information. This bot is the basis for the hack.

4 Paul Graham, 2013: paulgraham.com/ds.html | 5 Craigslist.org | 6 tinyurl.com/nsusc66

45 46

The

Gro

wth

Mac

hine

the technique One of the basic mechanics on Twitter is: if you follow me, I will follow you. In order to quickly succeed, I couldn’t follow hundreds of suitable pro-files manually. So I decided to use a script developed by Karan Thakkar7. I merely had to run the script on the follower overview of a suitable multi- plier. After this, the script automatically follows all user accounts displayed on that page, scrolls down and follows the accounts displayed, and so on and so forth.

the resultTo avoid a high churn rate, I had to offer my new follow-ers something. So I decided to look for relevant con-tent in the context of my main topics and automatically posted these contents – three times a day on each of the 4 days of the experiment: frequency and content.

Number of followers at the end of the experiment: 187.

+175 Follower

In connection with this, solutions for other technical peculiarities of the platform were developed. For example, there are hundreds of local and international versions of Craigslist. How to deal with this heterogeneous structure? How to ensure that the advertisement still looks good on Craigs-list and is able to convert traffic, despite the limited options of the platform? And finally, a tracking had to be integrated to be able to optimize the imple-mentation.

without leveraging the major networks. It might merely provide a new service or a solution to a specific problem. The McDonald’s case on page 36 of this report is a great example. Growth Hacking is more than a method, technology or discipline of digital marketing. It’s an attitude that allows to find new, innovative, growth-centered answers to the question: “How do I get as many consumers as possible for my product?”

This solution is everything but a routine job for marketing experts – it requires a comprehensive understanding of digital connections and a new form of creativity. For Airbnb, this approach, as well as the very effective addressing of new users after their registration by email, was one of the keys to success.

In 2009 a competitor remarked: “When a competing company comes on my radar, I always do my due diligence. In my Airbnb research, I didn’t find great SEO results or a gazillion followers on Twitter or any massive advertising spends on Google or Facebook. I looked everywhere but I couldn’t find any rational or traditional reasons for this type of growth.”8

“Hacks” can work completely without any programming. Tinder reached the tipping point through local events on campuses. Female students were introduced to the app by directly being asked to create their profiles on-site. Shortly afterwards, Tinder was presented to the male students – who then found many familiar faces on the app. A hack can also work

7 tinyurl.com/pjlf8qj | 8 Dave Gooden, 2011: davegooden.com

neuer fokus

47 48

the objective Since July 2014 Volkswagen is the official sponsor of the French football national team. The only problem: hardly anyone knew about this. This had to be changed.

the solution The best time to introduce Volkswagen as the new sponsor of the team is when the team is on the pitch. When France faced Brazil, we used the regular advertising boards for an unusual advertising campaign: instead of “Volkswagen soutient Les Bleus” (Volkswagen supports Les Bleus), we displayed “Wolkswagen” on the boards. More than six million TV viewers and stadium visitors believed to see a pretty embarrassing typo and shared this on various social networks. During the halftime break, we resolved the “error” – by using the hashtag #Wolkswagen on Twitter, on television and on the boards in the stadium. Quickly this daring advertising coup was picked up by the media, commented on and celebrated online. After this, almost everyone in France knew that Volkswagen is the new sponsor of “Les Bleus”.

wolkswagenvolkswagen – DDB Paris

#Wolkswagen was trending topic on Twitter with 7,500 tweets and 200,000 impressions in 90 minutes

> 6 million TV viewers and 80,000 fans in the stadium

Volkswagen buzz at Twitter: 6.9 times stronger after the activation

the objective The interchangeable lens camera α6000 is one of Sony’s most innovative products. It is already held in high esteem in professional circles. Now, we were asked to introduce the camera to a broader public.

the solution What sets the Sony α6000 apart from other cameras is its speed – it is equipped with the world’s fastest auto focus. We found the perfect analogy on the football pitch – with a perfectly suitable testimonial: Manuel Neuer, the goalkeeper with the world’s fastest reflexes. The claim “Neuer Fokus” (new focus) made consumers aware that fast reactions – on the pitch and when capturing unique moments – are crucial. Neuer liked the idea of the campaign and the product so much that he even used the main campaign motive as profile image of his official Facebook page with more than 8.6 million fans.

sony – DDB Germany

2.1 million videos views

8.1 million impressions in total Reach: 4.9 million

α6000 sales in launch week: up by 70 %

49 50

the objective On December 11, 2014, the controversial so-called “GagLaw” was passed. The UN criticized it as it was seen as a limitation to the freedom of speech and right to dem-onstrate. The Spanish civil rights movement “No Somos Delito” wanted to spearhead the widespread protests against this new law and asked DDB for support.

the solution With an exceptional campaign “No Somos Delito” wanted to demonstrate the consequences of the new law to the people in Spain, and at the same time protest against it. But how could people from all over the world take to the streets at the same time? With the world’s first hologram demonstration. Two weeks before the demonstration, protest-ers from around the globe were given the chance to show their solidarity: on the website hologramsforfreedom.org they could sign a petition for the law to be revoked and voice their opinion by uploading soundfiles or images of their protesting faces. What followed: on April 10, 2015, 17,857 holograms of protesters from many different countries marched to the Spanish Congress to demonstrate for their cause.

no somos Delito – DDB Spain

400 million Twitter impressions

330,000 signatures against the law Cannes lions 7× gold, 6× silver, 3× Bronze

800 million global impressions (above all channels)

Earned Media: € 16 million

the objective Everyone knows them and almost everyone loves them – McDonald’s famous French fries. Everyone? In China, the fried potato sticks are far less popular than in the Western world. Hence, McDonald’s asked us to whet the appetite of the Chinese.

the solution When you’re in love, everything reminds you of your beloved one. We made good use of this: because once you smell, taste or see French fries, you eagerly want them – and start behaving as if you were in love. We motivated people to use the photo app “fry box view finder” to take pictures of anything that looked like fries. To reach as many people as possible, we started the campaign in cooperation with Meitu, the Chinese equivalent to Instagram with 20 million daily active users. Digitally the images were shared on the social network and rewarded with real French fries at McDonald’s restaurants. The action, a TV spot, ambient media and POS measures made people in China see French fries every-where – and love them.

i see friesholograms for freeDommcDonald’s – DDB Sydney/Tribal Worldwide Shanghai

3 million clicks in the app in two weeks

> 675,000 pictures were uploaded ame awards gold, Cannes lions Bronze

Unique visits app: > 200,000

Channel interplay: Campaigns at the next level of effiCienCy.stefan sindram, Head of Planning, and fabian roser, Managing Director Creative, DDB Hamburg

53 54

Cha

nnel

Inte

rpla

y

On July 31, 1588, 130 ships of the Spanish Armada reached the Channel, with about 27,000 soldiers on board – a sheer unconquerable number of enemies, supported by their Dutch allies. nonetheless, the outnumbered englishmen won this battle. The reasons for this feat can be summed up quickly: to fight the Brits, the Spaniards mobilized anything they could – a diverse fleet of ships with different strengths. They completely focused on their powerful, yet stately galleons. The English on the other hand had unified a homogenous fleet of ships that could flexibly play out their strengths. They had optimised the manoeuvrability of their ships, so that the Spanish fleet hardly got the chance to come within striking distance of the English fleet. Furthermore, they had invested in new cannons with a higher reach and systematically trained their use. When the Spaniards fired one cannonball, the English fired back three.

the same olD story aBout the power of a Campaign

“ to keep olD knowleDge warm anD get new makes the teaCher.”1

More than 400 years after the sea battle for Britain, the essentials of this successful campaign are still relevant today. Regardless, of whether in military or in marketing: to achieve victory, the clever interplay of elements is more important than numerical superiority. The challenge to bundle up communicative measures in a useful way is not a new one, but more complex than ever. The increasing digitalisation leads to a more complex media mix and a more fragmented media usage behaviour.2 As a result, the old mechanisms of actions and economies of scale continue to lose their power. Not surprisingly, effective omni- channel strategies and transmedia concepts are more sought after.3 But at the core, it’s still about one thing: the maximum power of a campaign.

1 The Sayings of Confucius, 1909-14: Book II, 11 | 2 WDR mediagroup GmbH/rheingold institut, 2014: media use 2024 | 3 According to Google the search volume related to “ omni-channel marketing” has roughly doubled from the end of 2014 to the end of 2015. By the end of 2013 the volume was so insignificant that no statistics were available.

55 56

Cha

nnel

Inte

rpla

y

Developmental stages of the power of Campaigns

integration of new channels Because of the exchange of professionals, but mostly because of the increasing transparency of advertising and marketing, successful concepts are copied quickly. Having the edge over others on a channel is often merely a snapshot in time.

Greater potential lies in the integration of new media such as Periscope and new technologies like Wear-ables or Smart Beacons. For a long time, companies were hesitant to make venture investments in that field. Lately, however, this has become obligatory in order to collect experiences with new opportunities and remain a step ahead of the competition. Coca-Cola’s 2020 con-tent strategy is probably the most popular example for this4, but other companies follow a similar mantra.

4 It’s the central element of the Coca-Cola 2020 content strategy to leave enough room for the sustainable development of new approaches. To ensure this, the communication budget is split by a 70/20/10 key: 70 % go into approved measures, 20 % into the further development of successful innovations and 10 % are invested as venture capital to develop new ideas.

Deutsche Telekom provides excellent examples: for more than a year now, they have promoted the constant development of their content marketing strategy centred around the fictive family “Heins”. While the story continues to evolve, mainly in classical advertising, they steadily keep adding high-lights in spin-offs. No matter whether cooperations with movie marketers, collaborations with YouTube stars or using new communication channels – the successful campaign offers enough appeal for each experiment to stand the test in front of a mainstream audience. Just like the Insta concert by Deutsche Telekom (see case on page 60): with the help of Instagram, an exclusive Ed Sheeran concert was turned into a completely new streaming experience. Because of its connection to the existent content universe around Familie Heins, this was more than a little move on the side, it actually developed a significant reach and firepower. In total, this spin-off reached more than 6 million people on social media.

episode: smart homeClara’s Party

episode: the Best netSurprise For Clara

Content For new episode

TV & web

pre-event reporting www, Social Media & TV

Basic communication Familie Heins

Spin-Off Combining Familie Heins

with real contents

music sponsoring Telekom Street Gigs

post-event reportingwww & Social Media

participation street gig& Social Media Sharing

street gig ed sheeran

57 58

Cha

nnel

Inte

rpla

y

Effective interconnectednessTo unfold superior power of a campaign, it is not enough to have a homogenous appearance and the consistent setting of goals. The key is to have a well-orchestrated interplay of measures. Measures should benefit from each other as much as possible, instead of just having parallel effects. This, however, requires holistic planning & implementation. The customer journey offers a good basis for planning as it is media-neutral. The two Mc Kinsey consultants David C. Edelman and Marc Singer even came to the conclusion that the customer journey will become the central control element of marketing.

“Journeys are thus becoming central to the custo-mer’s experience of a brand – and as important as the products themselves in providing competitive advantage.”6

In many companies it is still – if at all – used as a tool for analysis. Those who want to achieve better connected-ness for their campaigns should have a look at software development. In this field, too, various specialists develop subcomponents that have to be put together to form a complex, functioning product.

Consistency across channelsConsistency is a core value in advertising psychology, as similar contents facilitate the processing of infor-mation and increase learning effects. However, 44 % of marketers claim that consistency is still a problem in the context of omni-channel marketing.5

A consistent branding being only one, but not the deci-sive facet. First and foremost, consistent marketing has to be based on consistent goal setting to ensure that the end result is not merely a package of similar-looking indi-vidual measures. The maxim “form follows function”, which applies in design, also applies in marketing: all activities have to first contribute to solving the common task. The historic dominance of a single medium, like TV, for instance, should just be as little as a criterion as the programmatic rejection of anything old (e. g. under the motto “mobile first”). Overcoming established struc tures are a critical success factor at this stage – and the prere-quisite to mastering the next stage successfully.

5 Teradata, 2015: 2015 Global Data-Driven Marketing Survey | 6 David C. Edelman/ Marc Singer, November 2015: Competing on Customer Journeys; in: Harvard Business Review

59 60

Cha

nnel

Inte

rpla

y

Dynamisation & individualisationWell-connected or not – most campaigns (still) end as they were launched. Learning effects during the time of the campaign hardly affect the running campaign. Although there are hardly any media that are not subject to digital change. Theoretically, this not only allows faster and more precise backflow of information, but also for optimised packages of measures to be imple-mented during the campaign. To make this happen, the following four basic points need to be ensured:

· A system that allows to reliably collect data · A system to process these data in a beneficial way · A definition of scenarios and rules for decisions· Pre-produced contents and resources to quickly optimize measures

Even if developments like programmatic media buying already give a foretaste of what is to come, they are still future prospects. So the question remains: for how long?

The customer journey maps the ideal user behaviour and customer needs, from the first interest to usage and finally repurchase of the product. Hence, it is nothing but a requirement analysis, which is conducted at the start of every software development process.

In software development the requirement analysis translates into the specification book. It is the central working basis and describes “the entirety of requirements to deliverables” (DIN 69901-5) – anything that needs to be done and also why it needs to be done. In the context of com-munication planning this includes supplementing the customer journey with tasks, KPIs and prioritization along the whole journey.

In software development, the functional specification document is derived from the specification book. It describes, how and with what the defined requirements should be met. The work packages for each involved party and the concept that details how the components are put together result from this. When applied to communication planning, not only the necessary measures & messages need to be defined in this step, it’s also necessary to define the ideal sequence of measures and the specific impact of measure X on measure Y. A Facebook sweepstake, for instance, should not only generate new fans, but should also generate the right type of profile data for email marketing and trade marketing support. The parties involved are responsible for their respective special fields but also to meaningfully support others working on the project.

On the basis of the specification book, the individual components are developed and improved in iterative, agile processes such as SCRUM. Regular communication among the interdisciplinary team members is an essential element. And shows the arguably greatest difficulty in the field of communication development: according to a recent survey, 80 % of all sur-veyed marketing decision makers state that silos in marketing still prevent an omni-channel perspective on campaigns.7 Developing working culture and mediation are crucial to increasing the communicative firepower.

7 Teradata, 2015: 2015 Global Data-Driven Marketing Survey

the new sharan families know why

61 62

the objective The Volkswagen Sharan is a spacious van and the ideal family car, especially for families with teenage kids. We were asked to promote the latest model and its innovative equipment features.

the solution How could mobile innovations be presented in a better way than when they are put into practice? We showed different family constellations – from father-mother-child to father-father-child – in typical everyday situations that many will be able to relate to. Al- though, there might no longer be a single traditional family constellation, the typical conflicts, which mainly arise between parents and teenage kids, still exist: tattoo wishes, awkward questions about the first love and kids, who feel terribly ashamed for their parents. All this happens where family life happens, too: in the car. Three short films about the diversity of family life are at the core of this digital-only campaign. On a campaign website and in the social networks the funny stories are continuously developed further.

volkswagen – DDB Germany

> 2 million YouTube views

Film “reizende tochter”: reached > 2.4 million people

Out of more than 800 videos on the Volkswagen YouTube channel, the three films reached rank 4, 8 and 17.

Film “Cooler vater”: reached > 2.7 million people

> 3 million Facebook video views Film “verliebte tochter”: reached > 1.1 million people

the objective Since 2007 the “Telekom Street Gigs” format lets well-known artists per-form in unusual locations in front of small crowds. Deutsche Telekom now wanted to take this series to another level and make their brand claim “Life is for sharing” come alive in an innovative way.

the solution We created an extraordinary concert experience that could be experienced live and digital – an amazing concert of superlatives: UK superstar Ed Sheeran performed the world’s highest concert on the Zugspitze in an altitude of 2.962 meters; it was the world’s first InstaConcert. Since most visitors of concerts film most of the time, we only had to combine these videos and make them available for everyone. During the concert, fans shared their best moments on Instagram by using the hashtag #EdInstaConcert. An interactive player automatically added Ed Sheeran’s songs “The A Team” and “Thinking Out Loud” to the collected content and made these new clips available on the website www.telekom-streetgigs.de. This is how an interactive music video with many unique and personal recordings was created collaboratively. Fans that couldn’t make it to the concert were able to experience the InstaConcert from various angles – from the last row to the stage. Just as if they would have been there.

instaConCertDeutsche telekom – DDB Germany

140,000 livestream viewers

Total range of PR: 3,163,195,441 contacts

Average time of visit InstaConcert video: 7:23 minutes (just below the length of the two songs which were chosen for the InstaConcert video)

2.2 million YouTube views

6 million social media contacts

TV contacts in total (includes all spots and trailer): 264 million

Earned media value: 2,760,509 €

8.5 million online contacts

63 64

input

fabian roser Managing Director Creative, DDB Hamburg [email protected]

@FabianRoser

nina rieke Chief Strategy Officer, DDB [email protected]

@ninarieke

stefan sindram Head of Planning, DDB Hamburg [email protected]

@stefasin

imprint

ContaCt

DDB group gmbhWilly-Brandt-Str. 120457 Hamburg

Hamburg, February 2016

Nina RiekeChief Strategy Officer, DDB Group

Laura MaroldtHead of Corporate Communications, DDB Group

Christina TexterVisuelle Kommunikation

Oludele Botchway

Mike Reinhold Director of Print Production, DDB Hamburg

Laura MaroldtHead of Corporate Communications, DDB [email protected]

Jan DiekmannHead of Business Development, DDB [email protected]

publication

Conception

Conception &project management

art Direction

translation

production

press & inquiries

Business inquiries

paulina Jusis-alfonsi Managing Director, DDB Digital University [email protected]

@DigitalUniv

yves Bollinger Director Digital, Strategy & Innovation, DDB Düsseldorf [email protected]

@Lubelly

13,500 employeesmore than 200 offiCes in over 90 markets worlDwiDe.

About DDB


Top Related